Delivering supreme content and groundbreaking technological innovation, Broadway Big Band – Kontakt Edition™ is a virtual instrument by Fable Sounds™ with a whopping 100 Gigabyte of audio content and a unique set of powerful features. Exploding with character and attitude, Broadway Big Band – Kontakt Edition™ has been established as the ultimate virtual instrument for contemporary brass, reeds and rhythm section instruments. With multiple microphone setups, whether for live stage use or studio work, contemporary or an oldie, Broadway Big Band™ can do it all. It has been used by top industry professionals on major albums, live shows, and high profile film, television, and theater projects. Putting the most detailed, realistic, versatile, and playable instruments at your fingertips, Broadway Big Band™ is an indispensable tool for creating Jazz, Funk, Pop, Blues, R&B, Latin, Hip-Hop, and much more…

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Listen

Listen to music produced using Broadway Big Band, to get a sense of how it sounds and what you can do with it.

Broadway Big Band – music demos

Feature Highlights

Ultimate Playability

Fable Sounds have developed and patented
a unique and intuitive articulation switching system
that enables real-time access to all of the
articulations of an instrument from a single patch.
You can finally play a deeply sampled virtual instrument
with the same creative freedom and fluidity
as the musician playing the actual instrument would.

Deeply sampled

An insane amount of articulations
and playing techniques,
providing endless possibilities
and unmatched level of expressiveness

Legato sampling

Legato intervals recorded
up to major 9th up and down
in various legato interval articulations
providing unmatched realism

Massive amount of content

100GB of audio content
recorded at 24bit/44.1khz
140,000+ individual samples

Meticulously recorded and processed

Recorded in one of New York’s best live rooms,
using top quality microphones and pre-amps
and carefully processed to a virtually noiseless
recording, that still breathes naturally

Groundbreaking Technology

Whether it’s our patented articulation switching system,
or our MIDI Data Morphing concept, our patented, lifelike, chaos-creating alternate samples management system, the musically liberating Unison Section feature, or our new, unique and powerful Real-Time Orchestrator, Fable Sounds always keeps you on the cutting edge of technology.

Multiple microphone setups

Sonic flexibility that would make the Broadway Big Band
instruments easily fit right into the mix, whatever
the genre or style of production may be.

Powerful and simple

Broadway Big Band offers incredibly powerful
yet simple to learn and use features, not offered
by any other virtual instruments currently on the market.
See the features section for details

Top New York musicians

It sounds right and feels right
because it was played right, by accomplished
New York Jazz, salsa, pop & Funk musicians.
It’s the real deal from top to bottom.

New features in version 2.0

Real-Time Orchestrator (RTO)

A groundbreaking feature enabling polyphonic, poly-rhythmic legato across a mixed section of instruments. Using RTO you can play an entire section on the keyboard, and the notes you play are orchestrated in real time and distributed to the various instruments in the RTO multi, based on orchestration schemes that you can create yourself. This is an extremely powerful system which is extremely easy to use. Great for live shows, as well as tracking under tight deadlines. It also offers articulation presets which can replace the built-in key-switching with alternative midi triggers such as foot-switches, freeing your left hand for playing notes rather than key-switches.

Unison Section

From now on, you can use any of the Broadway Big Band wind instruments multiple times in the arrangement or in a multi, even when playing unison, creating a realistic section of multiple instruments. This means that even with multiple instances of just one instrument, you can still get a realistic section of multiple instruments playing in unison. The feature is not some kind of a doubling effect, but rather it uses different samples, and performs slight adjustments to make sure each instance of the instrument sounds a little different from the other. The results are very realistic. The feature also includes “Humanize” and “Detune” knobs for further control over the section sound.

Notation Software Support

With version 2.0, “Notation mode” has been added to all of the Broadway Big Band instruments, to enable notation programs to communicate with Broadway Big Band and use it for playback of scores, including all included articulations and dynamics. The new Notation mode also enables integration with Cubase Expression maps. This was not previously possible due to the unique articulation switching system in Broadway Big Band. The new Notation Mode uses an alternative system of key-switching that is more in line with the way notation programs operate. (full documentation in the user manual).

Velocity curve control

Due to the extended dynamic range of the wind instruments included in Broadway Big Band, it is sometimes difficult to keep dynamics under control when using a MIDI keyboard’s velocity. To help overcome this, we’ve added a new knob to control the velocity curve, which helps adjusting the responsiveness of the Broadway Big Band instruments to various MIDI keyboards. The new velocity curve control feature can also be MIDI automated to make changes within a song as needed.

A new articulation added to Tenor Saxophone 1

FP+Vibrato, Added both as a temporary articulation and in combination with the existing “Strong Vibrato” articulation, as a new “Deep Vibrato” playing mode.

Various improvements in programming and UI

Improved consistency of levels and envelope programming and a new and improved user interface.

What's included?

Instruments & Articulations

Brass Section

* Click an instrument to see its detailed articulations and microphone setups.

Microphone setups for Trumpet #1

  • Mic 1 – Close mic
  • Mic 2 – Tight mic
  • Mic 3 – Loose mic
  • Mic 4 – Room mic
  • Mic 5 – Ribbon mic
  • Mic 6 – PA mic

Articulations for Trumpet #1

• Sustain + No vibrato
• Sustain + Progressive vibrato
• Sustain + Deep Vibrato
• Legato (Progressive vibrato)
• Legato to short (Legato to Staccato)
• Staccato
• Staccatissimo
• Fall down – fast
• Fall down – slow
• Fall down – slow from sustain
• Fall down – very slow
• Fall down – very slow from sustain *(simulated)
• Fall up (Doit)
• Fall up (Doit) from sustain
• Fall up – slow

• Smear into sustain
• Smear down & back
• Sfz + Crescendo – Fast
• Sfz + Crescendo – Slow
• Marcato + Mild vibrato
• Rip up into short note
• Rip down to sustain
• Rip up to sustain + No vibrato
• Rip up to sustain + Deep vibrato
• Shake – Fast
• Shake – Slow
• Grace note
• Chromatic Runs
• Rip portamento *(limited intervals)
• Rip portamento to short

• Flutter – Sustains
• Growl – Sustains
• Fall down (fast) with flutter
• Rip up to sustain with flutter
• Plunger Pattern 1
• Plunger Pattern 2
• Plunger Pattern 3
• Plunger Pattern 4
• Plunger Pattern 1 w/ Flutter
• Plunger Pattern 2 w/ Flutter
• Plunger Pattern 3 w/ Flutter
• Plunger Pattern 14w/ Flutter
• Staccato + Closed plunger
• Staccato + Open plunger

Microphone setups for Trumpet #1 + Harmon mute

  • Mic 1 – Close mic
  • Mic 2 – Tight mic
  • Mic 3 – Loose mic
  • Mic 4 – Room mic
  • Mic 5 – Ribbon mic
  • Mic 6 – PA mic

Articulations for Trumpet #1 + Harmon mute

  • Sustain + Progressive vibrato
  • Sustain + Stem on
  • Simulated legato
  • Staccato + Closed stem
  • Staccato + Open Stem
  • Shake
  • Fall down – Fast
  • Fall down – Fast from sustain *(simulated)
  • Fall down – Slow
  • Fall down – Slow from sustain *(simulated)
  • Fall up (Doit)
  • Fall up (Doit) from sustain *(simulated)
  • Plunger pattern 1
  • Plunger pattern 2
  • Plunger pattern 3
  • Plunger pattern 4

Microphone setups for Trumpet #1 + Cup mute

  • Mic 1 – Close mic
  • Mic 2 – Tight mic
  • Mic 3 – Loose mic
  • Mic 4 – Room mic
  • Mic 5 – Ribbon mic
  • Mic 6 – PA mic

Articulations for Trumpet #1 + Cup mute

  • Sustain + No vibrato
  • Sustain + Deep vibrato
  • Simulated legato
  • Staccato
  • Shake
  • Falls

Microphone setups for Trumpet #2

  • Mic 1 – Close mic
  • Mic 2 – Tight mic
  • Mic 3 – Loose mic
  • Mic 4 – Room mic
  • Mic 5 – Ribbon mic
  • Mic 6 – PA mic

Articulations for Trumpet #2

  • Sustain + Progressive vibrato
  • Sustain + Flutter tonguing
  • Simulated legato
  • Staccato
  • Fall down – Fast
  • Fall down – Slow
  • Fall down – very slow from sustain
  • Fall up (Doit)
  • Fall up (Doit) from sustain *(simulated)
  • Sforzzando
  • Sforzzando + Crescendo

Microphone setups for Trumpet #2 + Harmon mute

Microphone setups

  • Mic 1 – Close mic
  • Mic 2 – Tight mic
  • Mic 3 – Loose mic
  • Mic 4 – Room mic
  • Mic 5 – Ribbon mic
  • Mic 6 – PA mic

Articulations for Trumpet #2 + Harmon mute

  • Sustain + Progressive vibrato
  • Simulated legato

Microphone setups for Tenor Trombone

  • Mic 1 – Close mic
  • Mic 2 – Tight mic
  • Mic 3 – Loose mic
  • Mic 4 – Room mic

Articulations for Tenor Trombone

  • Sustain + No vibrato
  • Sustain + Vibrato
  • Sustain + Hard attack
  • Sustain + Flutter tonguing
  • Sustain + Flutter tonguing + Hard attack
  • Smear to sustain + No Vibrato
  • Smear to sustain + Vibrato
  • Legato
  • Glissando / Portamento
  • Glissando / Portamento + Flutter tonguing
  • Staccato
  • Staccatissimo
  • Staccato + Flutter tonguing
  • Sforzzando
  • Sforzzando + Crescendo – Fast
  • Sforzzando + Crescendo – Slow
  • Fall down – Fast
  • Fall down – Slow
  • Fall down – Fast + Flutter
  • Fall up (Doit)
  • All falls available as falls from sustain (simulated)
  • Glide down
  • Glide up into staccato
  • Rip up to a short note
  • Shake
  • Plunger pattern #1
  • Plunger pattern #2
  • Plunger pattern #3
  • Plunger pattern #4
  • Short plunger (“Wow”) – Marccato
  • Flutter + Closed plunger

Microphone setups for Tenor Trombone + Straight mute

Microphone setups

  • Mic 1 – Close mic
  • Mic 2 – Tight mic
  • Mic 3 – Loose mic
  • Mic 4 – Room mic

Articulations for Tenor Trombone + Straight mute

  • Sustain + No vibrato
  • Simulated Legato
  • Staccato
  • Fall

Microphone setups for Tenor Trombone + Bucket mute

Microphone setups

  • Mic 1 – Close mic
  • Mic 2 – Tight mic
  • Mic 3 – Loose mic
  • Mic 4 – Room mic

Articulations for Tenor Trombone + Bucket mute

  • Sustain + Vibrato
  • Simulated Legato

Reeds

* Click an instrument to see its detailed articulations and microphone setups.

Microphone setups for Clarinet

  • Mic 1 – Close mic
  • Mic 2 – Tight mic
  • Mic 3 – Loose mic
  • Mic 4 – Room mic

Articulations for Clarinet

• Sustain + Progressive deep Vibrato
• Legato (Progressive deep vibrato)
• Glide down  (Claizmer style)

• Smear into sustain (Deep vibrato)
• Smear Legato (Stylized portamento) *(limited intervals)

Microphone setups for Soprano Saxophone

  • Mic 1 – Close mic
  • Mic 2 – Tight mic
  • Mic 3 – Loose mic
  • Mic 4 – Room mic

Articulations for Soprano Saxophone

  • Sustain + No vibrato
  • Sustain + Vibrato
  • Legato + No vibrato
  • Legato + Vibrato
  • Staccato
  • Staccatissimo
  • Legato to short
  • Smear into sustain
  • Rip up into short note

Microphone setups for Alto Saxophone #1

  • Mic 1 – Close mic
  • Mic 2 – Tight mic
  • Mic 3 – Loose mic
  • Mic 4 – Room mic
  • Mic 5 – PA mic

Articulations for Alto Saxophone #1

  • Sustain + Progressive vibrato
  • Sustain + Deep Vibrato
  • Legato
  • Legato to short
  • Grace note
  • Growl – Sustain
  • Growl – Fall
  • Fall down fast
  • Fall down from sustain – fast
  • Fall down from sustain – slow
  • Fall up
  • Fall up from sustain
  • Fall up slow
  • Glide down
  • Staccato
  • Staccatissimo
  • Sforzzando
  • Marccato + Dirty Vibrato
  • Smear into note
  • Smear Legato (a stylized portamento)

Microphone setups for Alto Saxophone #2

  • Mic 1 – Close mic
  • Mic 2 – Tight mic
  • Mic 3 – Loose mic
  • Mic 4 – Room mic

Articulations for Alto Saxophone #2

  • Sustain + Progressive vibrato
  • Simulated legato
  • Staccatissimo
  • Fall down fast

Microphone setups for Tenor Saxophone #1

  • Mic 1 – Close mic
  • Mic 2 – Tight mic
  • Mic 3 – Loose mic
  • Mic 4 – Room mic
  • Mic 5 – PA mic

Articulations for Tenor Saxophone #1

  • Sustain + Progressive vibrato
  • Sustain + No vibrato
  • Sustain + Strong vibrato
  • FP + Vibrato
  • Marccato + Mild vibrato
  • Marccato + Dirty Vibrato
  • Legato
  • Legato to short
  • Rip up into short note
  • Staccato
  • Staccatissimo
  • Fall down – fast
  • Fall down from sustain – fast
  • Fall down – slow
  • Fall down from sustain – slow (simulated)
  • Fall up
  • Fall up from sustain
  • Glide down
  • Sforzzando
  • sfz + Crescendo – fast
  • sfz + Crescendo – slow
  • Smear into note
  • Slow smear into note
  • Growl – Sustain
  • Growl – Fall
  • Smear w/ Growl
  • Alternate fingering
  • Clap FX

Microphone setups for Tenor Saxophone #2

  • Mic 1 – Close mic
  • Mic 2 – Tight mic
  • Mic 3 – Loose mic
  • Mic 4 – Room mic

Articulations for Tenor Saxophone #2

  • Sustain + No vibrato
  • Sustain + Deep vibrato
  • Sustain + Progressive  vibrato
  • Repetition (legato in Prima)
  • Repetition to a short note (Legato to a short note in Prima)
  • Simulated legato
  • Fall down fast
  • Fall down slow
  • Fall up
  • Sforzzando
  • Staccato
  • Staccatissimo
  • Smear into sustain
  • Slow smear into sustain

Microphone setups for Baritone  Saxophone

  • Mic 1 – Close mic
  • Mic 2 – Tight mic
  • Mic 3 – Loose mic
  • Mic 4 – Room mic

Articulations for Baritone Saxophone

  • Sustain + No vibrato
  • Sustain + Vibrato
  • Sforzzando
  • Sfz + Crescendo
  • Legato + No vibrato
  • Legato + Vibrato
  • Legato to short note
  • Smear into sustain
  • Sustain + Growl
  • Smear into sustain + Growl
  • Grace note sustain
  • Grace note short minor 2nd – up
  • Grace note short major 2nd – up
  • Grace note short minor 2nd – down
  • Staccato
  • Staccatissimo
  • Double Staccato
  • Tripple Staccato
  • Double grace note short

Rhythm Section

* Click an instrument to see its detailed articulations and microphone setups.

Microphone setups for Drum kit – Sticks

  • Stereo mixdown

Articulations for Drum kit – Sticks

  • Kick drum
  • Kick drum – Soft
  • SD – Center (Left)
  • SD – Center (Right)
  • SD – Off Center (Left)
  • SD – Off Center (Right)
  • SD – Rim Shot – edge (Left)
  • SD – Rim Shot – edge (Right)
  • SD – Rim (Left)
  • SD – Rim (Right)
  • SD – Side-Stick
  • SD – Stick Click
  • SD – double hit (Left)
  • SD – double hit (Right)
  • SD – Buzz Roll (Left)
  • SD – Buzz Roll (Right)
  • SD – Roll to hit
  • Hi Rack Tom – Center (Left)
  • Hi Rack Tom – Center (Right)
  • Hi Rack Tom – Edge (Left)
  • Hi Rack Tom – Edge (Right)
  • Hi Rack Tom – Rim (Left)
  • Hi Rack Tom – Rim (Right)
  • Hi Rack Tom – Muted
  • Low Rack Tom – Center (Left)
  • Low Rack Tom – Center (Right)
  • Low Rack Tom – Edge (Left)
  • Low Rack Tom – Edge (Right)
  • Low Rack Tom – Rim (Left)
  • Low Rack Tom – Rim (Right)
  • Low Rack Tom – Muted
  • Floor Tom – Center (Left)
  • Floor Tom – Center (Right)
  • Floor Tom – Edge (Left)
  • Floor Tom – Edge (Right)
  • Floor Tom – Rim (Left)
  • Floor Tom – Rim (Right)
  • Floor Tom – Muted
  • HH – Closed – Edge – Tight (Left)
  • HH – Closed – Edge – Tight (Right)
  • HH – Closed – Tip – Tight (Left)
  • HH – Closed – Tip – Tight (Right)
  • HH – Closed – Edge – Not Tight (Left)
  • HH – Closed – Edge – Not Tight (Right)
  • HH – Closed – Tip – Not Tight (Left)
  • HH – Closed – Tip – Not Tight (Right)
  • HH – Closed – Edge – Loose (Left)
  • HH – Closed – Edge – Loose (Right)
  • HH – Closed – Tip – Loose (Left)
  • HH – Closed – Tip – Loose (Right)
  • HH – Half open – Edge (Left)
  • HH – Half open – Edge (Right)
  • HH – Open – Edge (Left)
  • HH – Open – Edge (Right)
  • HH – Open – Tip (Left)
  • HH – Open – Tip (Right)
  • HH – Stomp
  • HH – Stomp (from open)
  • HH – Stomp (from open) + Closed hit
  • HH – Splash
  • HH – Bark
  • Splash – Left
  • Splash – Right
  • Splash – Chock
  • 16” Crash – Edge (Left)
  • 16” Crash – Edge (Right)
  • 16” Crash – Tip (Left)
  • 16” Crash – Tip (Right)
  • 16” Crash – Bell (Left)
  • 16” Crash – Bell (Right)
  • 16” Crash – Chock (hit)
  • 16” Crash – Chocking (from open)
  • 16” Crash – Harmonics
  • 19” Crash – Edge (Left)
  • 19” Crash – Edge (Right)
  • 19” Crash – Tip (Left)
  • 19” Crash – Tip (Right)
  • 19” Crash – Bell (Left)
  • 19” Crash – Bell (Right)
  • 19” Crash – Chock (hit)
  • 19” Crash – Chocking (from open)
  • 19” Crash – Harmonics
  • Crash-Ride – Edge (Left)
  • Crash-Ride – Edge (Right)
  • Crash-Ride – Tip (Left)
  • Crash-Ride – Tip (Right)
  • Crash-Ride – Bell (Left)
  • Crash-Ride – Bell (Right)
  • Crash-Ride – Chock (hit)
  • 20” Ride – Edge (Left)
  • 20” Ride – Edge (Right)
  • 20” Ride – Tip (Left)
  • 20” Ride – Tip (Right)
  • 20” Ride – Bell (Left)
  • 20” Ride – Bell (Right)

Microphone setups for Drum kit – Brushes

  • Stereo mixdown

Articulations for Drum kit – Brushes

  • Kick drum
  • Kick drum – Soft
  • SD – Brush hit – Center (Left)
  • SD – Brush hit – Center (Right)
  • SD – Muted Brush hit (Left)
  • SD – Muted Brush hit (Right)
  • SD – Long Swish-to-hit
  • SD – Medium Swish-to-hit
  • SD – Short Swish-to-hit
  • SD – Long Swish (Hard attack)
  • SD – Long Swish (Accent in middle)
  • SD – Slow Swish
    (Accent at beginning & end)
  • SD – Medium Swish
  • SD – Medium Swish (Accent at end)
  • SD – Medium Swish
    (Accent at beginning & end)
  • SD – Swish (multiple soft Accents)
  • SD – Short Swish (Accent at beginning)
  • SD – Short Swish (Accent at end)
  • SD – Swish – Looped
    (Accent at beginning)
  • SD – Brush scrape (out-take)
  • Hi Rack Tom – Center (Left)
  • Hi Rack Tom – Center (Right)
  • Hi Rack Tom – Muted
  • Low Rack Tom – Center (Left)
  • Low Rack Tom – Center (Right)
  • Low Rack Tom – Muted
  • Floor Tom – Center (Left)
  • Floor Tom – Center (Right)
  • Floor Tom – Muted
  • HH – Closed  (Left)
  • HH – Closed (Right)
  • HH – Half open (Left)
  • HH – Half open (Right)
  • HH – Open (Left)
  • HH – Open (Right)
  • HH – Stomp
  • HH – Stomp (from open)
  • HH – Stomp (from open) – Slow
  • HH – Stomp (from open) + Closed hit
  • HH – Splash
  • HH – Bark
  • Splash – Left
  • Splash – Right
  • Splash – Chock
  • 16” Crash – Brush hit (Left)
  • 16” Crash – Brush hit(Right)
  • 16” Crash – Scrape – Fast
  • 16” Crash – Scrape – Slow
  • 16” Crash – Chock (hit)
  • 16” Crash – Chocking (from open)
  • Crash-Ride – Brush hit
  • Crash-Ride – Brush Scrape – Slow
  • Crash-Ride – Chock (sticks)
  • Crash-Ride – Chocking (from open)
  • 20” Ride – Brush hit (Left)
  • 20” Ride – Brush hit (Right)
  • 20” Ride – Brush Scrape – Slow
  • 20” Ride – Brush Scrape – Fast
  • 20” Ride – Choking (from open)

Microphone setups for Upright Bass

  • Mic 1 – Close mic (Neck)
  • Mic 2 – Pick-up
  • Mic 3 – Close mic (Body)
  • Mic 4 – Loose mic

Articulations for Upright Bass

  • Sustain + No vibrato
  • Sustain + Normal vibrato
  • Sustain + Deep vibrato
  • Staccato
  • Slap / Pull
  • Bend up into note (fast minor 2nd)
  • Bend up into note (Slow major 2nd)
  • Bend down into note (minor 2nd)
  • Slow glissando up (1 Octave)
  • Slow glissando down (1 Octave)

Microphone setups for Banjo

  • Stereo setup 1
  • Stereo setup 2

Articulations for Soprano Banjo

  • Sustain up stroke
  • Sustain down stroke
  • Staccato up stroke
  • Staccato down stroke
  • Half muted down stroke
  • Half muted up stroke
  • Fully muted down stroke
  • Fully muted up stroke
  • Grace note upwards down stroke
  • Grace note upwards up stroke

Microphone setups for Ukulele

  • Stereo setup 1
  • Stereo setup 2

Articulations for Soprano Ukulele

  • Sustain up stroke
  • Sustain down stroke
  • Half muted down stroke
  • Half muted up stroke
  • Grace note

Microphone setups for Xylophone – Rubber mullets

  • Stereo setup 1 – Close – Top
  • Stereo setup 2 – Close – Bottom
  • Stereo setup 3 – Far – Room

Articulations for Xylophone – Rubber mullets

  • Open (left)
  • Open (right)
  • Tremolo (scripted)
  • Add scrape release samples (for glissandos)

Microphone setups for Xylophone – Plastic mullets

  • Stereo setup 1 – Close – Top
  • Stereo setup 2 – Close – Bottom
  • Stereo setup 3 – Far – Room

Articulations for Xylophone – Plastic mullets

  • Open (left)
  • Open (right)
  • Muted (left)
  • Muted (right)
  • Tremolo (scripted)
  • Add scrape release samples (for glissandos)

Microphone setups for Bongos – Hands

  • Stereo setup 1 – Close mics
  • Stereo setup 2 – Loose mics
  • Stereo setup 3 – Room mics

Articulations for Bongos – Hands

  • High-Bongo – Slap (Left)
  • High-Bongo – Slap (Right)
  • High-Bongo – Accent (Left)
  • High-Bongo – Accent (Right)
  • High-Bongo – Muffled (Left)
  • High-Bongo – Muffled (Right)
  • High-Bongo – Wipe (1st direction)
  • High-Bongo – Wipe (2nd direction)
  • High-Bongo – Scrapes (Left)
  • High-Bongo – Scrapes (Right)
  • High-Bongo – Finger 2 (Left)
  • High-Bongo – Finger 2 (Right)
  • High-Bongo – Finger 3 (Left)
  • High-Bongo – Finger 3 (Right)
  • High-Bongo – Finger 4 (Left)
  • High-Bongo – Finger 4 (Right)
  • High-Bongo – Finger 5 (Left)
  • High-Bongo – Finger 5 (Right)
  • High-Bongo – Flam – Fingers
  • High-Bongo – Finger Run (Left)
  • High-Bongo – Finger Run (Right)
  • High-Bongo – Long Roll + Diminuendo
  • High-Bongo – Sfz + Roll + Diminuendo
  • High-Bongo – Roll (Looped)
  • High-Bongo – Wipe-Tremolo (Short)
  • High-Bongo – Wipe-Tremolo (Looped)
  • Low-Bongo – Slap (Left)
  • Low-Bongo – Slap (Right)
  • Low-Bongo – Open Tone (Left)
  • Low-Bongo – Open Tone (Right)
  • Low-Bongo – Open Tone – Fingers (Left)
  • Low-Bongo – Open Tone – Fingers (Right)
  • Low-Bongo – Muffled (Left)
  • Low-Bongo – Muffled (Right)
  • Low-Bongo – Muffled Tone (Left)
  • Low-Bongo – Muffled Tone (Right)
  • Low-Bongo – Wipe (1st direction)
  • Low-Bongo – Wipe (2nd direction)
  • Low-Bongo – Finger 2 (Left)
  • Low-Bongo – Finger 2 (Right)
  • Low-Bongo – Finger 3 (Left)
  • Low-Bongo – Finger 3 (Right)
  • Low-Bongo – Finger 4 (Left)
  • Low-Bongo – Finger 4 (Right)
  • Low-Bongo – Finger 5 (Left)
  • Low-Bongo – Finger 5 (Right)
  • Low-Bongo – Flam – Fingers
  • Low-Bongo – Finger Run (Left)
  • Low-Bongo – Finger Run (Right)
  • Low-Bongo – Roll + Diminuendo
  • Low-Bongo – Roll (Looped)
  • Low-Bongo – Wipe-Tremolo (Looped)

Microphone setups for Congas – Hands

  • Stereo setup 1 – Close mics
  • Stereo setup 2 – Loose mics
  • Stereo setup 3 – Room mics

Articulations for Congas – Hands

  • High Conga – Base tone on ground (L/R)
  • High Conga – Base tone off ground (L/R)
  • High Conga – Base tone – Fist
  • High Conga – Muffled tone (L/R)
  • High Conga – Open tone (R)
  • High Conga – Palm Stroke – Fingers – Edge (L/R)
  • High Conga – Closed Slap (L/R)
  • High Conga – Open Slap (L/R)
  • High Conga – High Elbow press
  • High Conga – Elbow press – Gliss-down (slow)
  • High Conga –Middle Elbow press
  • High Conga – Gliss FX
  • High Conga – Flam with open Slaps
  • High Conga – One finger on edge – Open (L/R)
  • High Conga – individual fingers of both hands (for each finger)
  • High Conga – Finger-run
  • Low Conga – Palm stroke – Fingers – Center (L/R)
  • Low Conga – Palm stroke – Fingers – Edge (L/R)
  • Low Conga – Muffled tone (L/R)
  • Low Conga – Open tone (L/R)
  • Low Conga – Finger on edge – Muffled (L/R)
  • Low Conga – Base tone – Fist
  • Low Conga – Base tone on ground
  • Low Conga – Base tone off ground
  • Low Conga – Closed slap – High
  • Low Conga – individual fingers of both hands (for each finger)
  • Low Conga – Double finger-run

Microphone setups for Congas – Sticks

  • Stereo setup 1 – Close mics
  • Stereo setup 2 – Loose mics
  • Stereo setup 3 – Room mics

Articulations for Congas – Sticks

  • High Conga – Defenario Conga (High)
  • High Conga – Metal Rim (L/R)
  • High Conga – Rim Head (L/R)
  • High Conga – Stick on head – Muffled
  • High Conga – Stick on head – Open
  • High Conga – Buzz Roll
  • Defenario (between the drums)
  • Low Conga – Stick on head – Open (L/R)
  • Low Conga – Stick on head – Muffled (L/R)
  • Low Conga – Rim Head (L/R)
  • Low Conga – Metal Rim (L/R)
  • Low Conga – Defenario Conga (Low)
  • Low-Conga – Buzz-Roll
  • Low Conga – Stick on wooden side

Microphone setups for Timbalitos

  • Stereo setup 1 – Close mics
  • Stereo setup 2 – Loose mics
  • Stereo setup 3 – Room mics

Articulations for Timbalitos

  • High Timbalito – Sticks – side
  • High Timbalito – Sticks – tip – side
  • High Timbalito – Sticks – Rim (L/R)
  • High Timbalito – Sticks – Rim – Press-Roll
  • High Timbalito – Sticks – Rim – Flam
  • High Timbalito – Sticks – Roll-to-hit
  • High Timbalito – Sticks – Roll (short) – Open
  • High Timbalito – Sticks – Buzz-roll (medium)
  • High Timbalito – Sticks – Buzz-roll (short)
  • High Timbalito – Sticks – Buzz-roll (Looped)
  • High Timbalito – Sticks – Roll (medium) – Open
  • High Timbalito – Sticks – Roll – Open (looped)
  • High Timbalito – Sticks – Rim – Double stroke (L/R)
  • High Timbalito – Sticks – double stroke (L/R)
  • High Timbalito – Sticks – Center (L/R)
  • High Timbalito – Sticks – Muffled
  • High Timbalito – Sticks – Araniko
  • Low Timbalito – Sticks – Center (L/R)
  • Low Timbalito – Sticks – Center – Flam
  • Low Timbalito – Sticks – Center – Muffled
  • Low Timbalito – Sticks – Rim – Flam
  • Low Timbalito – Sticks – Rim
  • Low Timbalito – Sticks – Rim – Muffled
  • Low Timbalito – Sticks – Roll (long)
  • Low Timbalito – Sticks – Roll (short)
  • Low Timbalito – Sticks – Rim – Roll (short)
  • Low Timbalito – Sticks – Roll-to-hit
  • Low Timbalito – Sticks – Rim – Press-Roll
  • Low Timbalito – Sticks – side
  • Low Timbalito – Hands – Muffled
  • Low Timbalito – Hands – Center – Fingers

Microphone setups for Percussion Toys 1

  • Stereo setup 1 – Close mics
  • Stereo setup 2 – Loose mics
  • Stereo setup 3 – Room mics

Articulations for Percussion Toys 1

  • Woodblock – Low (Rubber mullet)
  • Woodblock – Low (Rubber mullet) – inside
  • Woodblock – Low (Wood stick)
  • Woodblock – Low (Wood stick) – inside
  • Clave
  • Woodblock – High (Rubber mullet)
  • Woodblock – High (Wood stick)
  • African Clave
  • Triangle #1 – Muted
  • Triangle #1 – Muting (from open)
  • Triangle #1 – Open
  • Triangle #1 – Staccato
  • Triangle #1 – Staccatissimo
  • Cha-Cha Bell (Edge)
  • Cha-Cha Bell (Edge) – Muffled
  • Cha-Cha Bell (Center)
  • Mambo Bell (Edge)
  • Mambo Bell (Edge) – Muffled
  • Mambo Bell (Center)
  • Mambo Bell (inside)
  • Mambo Bell (side)
  • Cow Bell – Low
  • Cow Bell – Low – Muted
  • Cow Bell – Mid
  • Cow Bell – Mid – Muted
  • Cow Bell – High
  • Cow Bell – High – Muted
  • Cricket – Ring
  • Cricket – Charge
  • Cricket – Ring-charge
  • Agogo – Low (Edge)
  • Agogo – Low (Center)
  • Agogo – Mid (Edge)
  • Agogo – Mid (Center)
  • Agogo – High (Edge)
  • Agogo – High (Center)
  • Agogo – Mid – Roll (on the inside)
  • Castanet – Single-hit (L/R)
  • Castanet – Flams
  • Castanet – Roll (short)
  • Castanet – Roll (long & looped)
  • Castanet – Roll-to-hit
  • Triangle #2 – Muted
  • Triangle #2 – Open
  • Triangle #2 – Staccato
  • Triangle #2 – Muting (from open)
  • Triangle #2 – Tremolo (short)
  • Triangle #2 – Tremolo (long)
  • Triangle #2 – Muted (Accent)
  • Vibraslap – Waving
  • Vibraslap – Normal
  • Vibraslap – Stopping (from sustain)

Microphone setups for Percussion Toys 2

  • Stereo setup 1 – Close mics
  • Stereo setup 2 – Loose mics
  • Stereo setup 3 – Room mics

Articulations for Percussion Toys 2

  • Tambourine 1 – Side hit (Fast attack)
  • Tambourine 1 – Movement (Left)
  • Tambourine 1 – Movement (Right)
  • Tambourine Shaker – Tremolo (Medium)
  • Tambourine Shaker – Tremolo (short)
  • Tambourine Shaker – Up-Down
  • Tambourine Shaker – Up-Down (Short)
  • Tambourine Shaker – Hit
  • Tambourine Shaker – Down-up (Slow)
  • Tambourine Shaker – Short Movement
  • Tambourine Shaker – Movement with hit (Long)
  • Tambourine Shaker – Movement with hit
  • Tambourine Shaker – Movement with hit (Soft)
  • Tambourine Shaker – Single movement (Accented)
  • Tambourine Shaker – Single movement + 1 accent (Soft attack)
  • Cabasa – Sand slide
  • Cabasa – Tremolo (Looped)
  • Cabasa – Strike (side)
  • Cabasa – Shake forward (Fast attack)
  • Cabasa – Shake forward
  • Cabasa – Shake backward (Fast attack)
  • Cabasa – Shake backward
  • Cabasa – Sand slide (+ Accents at beginning and end)
  • Cabasa – Movement (medium-long)
  • Cabasa – Movement (medium)
  • Cabasa – Sand slide (multiple accents)
  • Cabasa – Movement – side (short)
  • Cabasa (out-takes)
  • Jingle Bells – Hit
  • Jingle Bells – Single Movement
  • Jingle Bells – Single Movement (Short)
  • Jingle Bells – Tremolo (Medium)
  • Jingle Bells – Tremolo (Short)
  • Jingle Bells – Hit (Fast Attack)
  • Jingle Bells – Tremolo (Looped)
  • Maracas – Tremolo (medium)
  • Maracas – Double Tremolo
  • Maracas – Tremolo (medium) + Crescendo
  • Maracas – Backward
  • Maracas – Tremolo (Long)
  • Maracas – Forward
  • Maracas – Up-Down (L)
  • Maracas – Up-Down (R)
  • Maracas – Tremolo (medium)
  • Maracas – Tremolo (medium-short)
  • Maracas (out-takes)
  • Chakere – Tilt-Down (soft)
  • Chakere – Tilt-Up
  • Chakere – Tilt-Up (soft)
  • Chakere – Tilt-Down (soft) Fast attack
  • Chakere – Tilt-Down
  • Chakere – Tilt-Down & Up
  • Chakere – Strike+After-FX (Soft Attack)
  • Chakere – Strike+After-FX
  • Chakere – Shake (long)
  • Chakere – Shake (short)
  • Chakere – Strike
  • Chakere – Shake Up&Down (Fast attack)
  • Chakere – Base tone (Fingers)
  • Chakere – Hit-on-hand
  • Chakere – Base tone (Palm)
  • Chakere – Shake – Down (Fast attack)
  • Chakere – Shake – Up (Fast attack)
  • Chakere – Tilt-Up & Down
  • Chakere – Up-Down
  • Chakere (out-takes)
  • Tambourine 2 – Side hit
  • Tambourine 2– Roll-to-hit (Fast Attack)
  • Tambourine 2 – Roll-to-hit
  • Tambourine 2 – Roll (Short)
  • Tambourine 2 – Roll (Medium)
  • Tambourine 2 – Roll – Slow (Short)
  • Tambourine 2 – Roll (Long)
  • Tambourine 2 – Roll – Slow (Medium)
  • Tambourine 2 – Movement – Up-Down
  • Tambourine 2 – Lap (L)
  • Tambourine 2 – Lap (L) – Fast Attack
  • Tambourine 2 – Lap (R)
  • Tambourine 2 – Hit-on-hand
  • Tambourine 2 – Cymbal hit
  • Wind Chimes – Medium-Long Segment
  • Wind Chimes – Medium-Long Segment (Soft)
  • Wind Chimes – Medium Segment
  • Wind Chimes – Medium-short Segment
  • Wind Chimes – Gliss Down
  • Wind Chimes – Gliss Down (Medium)
  • Wind Chimes – Gliss Down (Medium-short)
  • Wind Chimes – Gliss Up

Microphone setups for Percussion Toys 3

  • Stereo setup 1 – Close mics
  • Stereo setup 2 – Loose mics
  • Stereo setup 3 – Room mics

Articulations for Percussion Toys 3

  • Ratchet – sustain (Long & Looped) v1
  • Ratchet – sustain (Long & Looped) v2
  • Ratchet – sustain (Long & Looped) v3
  • Ratchet – sustain (Long & Looped) v4
  • Ratchet – sustain (Long)
  • Ratchet – Slow & Jerky (Medium-Long)
  • Ratchet – Slow sustain (Medium-Long)
  • Ratchet – Jerky beginning (Medium-Long)
  • Ratchet – Slow sustain (Medium) v1
  • Ratchet – Slow sustain (Medium) v2
  • Ratchet – Sustain (Medium) v1
  • Ratchet – Sustain (Medium) v2
  • Ratchet – Fast sustain (Medium) v1
  • Ratchet – Fast sustain (Medium) v2
  • Ratchet – Very fast sustain (Medium)
  • Ratchet – Fast sustain (Medium-Short) v1
  • Ratchet – Fast sustain (Medium-Short) v2
  • Ratchet – Sustain (Medium-Short)
  • Ratchet – Slow Sustain (medium-Short)
  • Ratchet – Slow Sustain (Short)
  • Ratchet – sustain (Short) v1
  • Ratchet – sustain (Short) v2
  • Ratchet – sustain (Short) v3
  • Ratchet – sustain (Short) v4
  • Ratchet – sustain (Short) v5
  • Ratchet – Very Short (Staccato) v1
  • Ratchet – Very Short (Staccato) v2
  • Ratchet – Very Short (Staccato) v3
  • Ratchet – Very Short (Staccato) v4
  • Ratchet – (out-take)
  • Slide Whistle – Slide only (v1)
  • Slide Whistle – Slide only (v2)
  • Slide Whistle – Gliss-Down – Slow
  • Slide Whistle – Gliss-Down – Slow (High)
  • Slide Whistle – Gliss-Down – Very Slow
  • Slide Whistle – Gliss-Down – Fast
  • Slide Whistle – Gliss-Down – Very Fast
  • Slide Whistle – Gliss-Down & Up – Very Slow
  • Slide Whistle – Gliss-Up & Down – Very Slow
  • Slide Whistle – Gliss-Up & Down – Fast
  • Slide Whistle – Gliss-Down – Very Fast (Soft)
  • Slide Whistle – Gliss-Up & Down – Slow
  • Slide Whistle – Gliss-Up & Down – Medium
  • Slide Whistle – Gliss-Up & Down – Fast
  • Slide Whistle – Partial Gliss-Up (Low-Range)
  • Slide Whistle – Partial Gliss-Up (Mid-Low-Range)
  • Slide Whistle – Partial Gliss-Up (mid-Range)
  • Slide Whistle – Partial Gliss-Up (Mid-High-Range)
  • Slide Whistle – Partial Gliss-Up (High-Range)
  • Slide Whistle – Partial Gliss-Up
  • Slide Whistle – Gliss-Up (medium)
  • Slide Whistle – Gliss-Up – Fast (Full-range) v1
  • Slide Whistle – Gliss-Up – Fast (Full-range) v2
  • Slide Whistle – Gliss-Up – Very Slow (Full-range)
  • Slide Whistle – Gliss-Up – Very Slow (Fading)
  • Slide Whistle – Gliss-Up – Slow (Fading)
  • Slide Whistle – Gliss-Up – Wavy
  • Slide Whistle – Gliss-Up + Flutter-tongue

Musicians & Credits

YUVAL SHREM
Creative director

Yuval Shrem, co-founder of Fable Sounds, is a composer, screenwriter, and an award-winning film director. He has worked at the top of the Israeli television industry since 1995, as a composer, screenwriter, and director. He has been creatively involved in the making of numerous television programs from drama series to talk shows, children shows, and dramatic mini-series. throughout his career as a composer, arranger and musical director, Yuval has worked with some of Israel’s top artists and accumulated an extensive experience working with live performers in the recording studio and on stage, as well as with samplers and sample libraries, and prior to founding Fable Sounds, often resorted to creating personal sampling projects for his own use as a busy television composer in order to overcome TV’s notorious constraints of both budget and schedule, and because of the lack of products that would satisfy his ever growing needs. In 2002 Yuval has relocated to Los Angeles to pursue his filmmaking career.

Yuval’s training as a musician had classical roots, as well as a very diverse array of teachers and influences. From the personal friendship with the legendary composer and conductor Leonard Bernstein who had him sit in numerous concerts, recordings and orchestra rehearsals, to the thousands of hours that Yuval spent as a child watching his father Eldad Shrem at work at the recording studio and on stage as a musical director, arranger and conductor of numerous shows as well as an album producer at the top of the Israeli music industry.

Yuval started his music education at the age of 4, attended the Tel-Aviv Conservatory, as well as the music departments of both the School of Arts in Tel Aviv and The Israel Arts and Science Academy of The Society For Excellence Through Education in Jerusalem, studying with the most prominent teachers and serious composers in the country. Yuval also attended the the Film and Television program at the Tel Aviv University, as well as a couple of the special summer production programs at USC, and additional workshops and seminars led by renowned filmmakers such as Jim Sheridan, Ivan Passer, Jang Yimo and more. Yuval is a recipient of a scholarship from the America-Israel Cultural Foundation, and a current member of the Israeli Academy of Motion Pictures & Television, as well as an associate member of The Recording Academy (Grammys).

Since 2004 Yuval has also worked on the development of Broadway Big Band™ musically directing and personally supervising the recording, processing editing and mapping of each and every one of the samples of the project. Yuval has also played the Xylophone at the recordings of the Broadway Big Band virtual instrument and has been heavily involved in the development of the patented Broadway Performer™ technology.

www.yuvalshrem.com

Amit Itzkovich
Software engineer & Tenor Saxophone 1

Amit Itzkovich, co-founder of Fable Sounds, is a software engineer and a Jazz musician. He plays Tenor and Alto saxophones and arranges big-band music. Amit has served in the Israeli Air-Force as a saxophone player and arranger at the prestigious Air Force Big Band. He has also been a member of the Tel Aviv Citi Hall Big Band playing with Israel’s most renowned musicians and international Jazz legends such as Michael Brecker, Dave Liebman, and the New York Voices. Amit’s musical background includes many years of classical piano training starting at the age of 5. He attended the prestigious Thelma Yellin high school of arts and had the privilege to have studied with musicians such as Herb Pomeroy, Gary Dial, Joel Frahm and Rich Perry.

As a software engineer, Amit has graduated with honors from the highly acclaimed Technion-Israel Institute of Technology in the computer science faculty and has been working for several years as a software engineer for companies in Israel and in the US, including EZChip, Advanced Mobile Technologies, and most recently ITG.

Amit Itzkovich has collaborated with Yuval Shrem in various productions in the past, and as Fable Sounds’ chief software engineer, has been responsible for the development of the Broadway Performer, and has been heavily involved with the sample programming work of the Broadway Big Band instruments. He also played the 1st Tenor Saxophone in the recordings of the Broadway Big Band virtual instrument.

Dror Ben-Gur
Alto Saxophone 1

Dror Ben-Gur is a highly in demand saxophone & flute player worldwide. His performance credits include the Manhattan Transfer, the Israeli Philharmonic (under the direction of condactor Zubin Mehta), and many prestigious Big Bands in New York City, Amsterdam, and Israel. He has played and /or recorded with world-renowned Jazz musicians including John Patitucci, Randy brecker, Bob Mintzer, Dick Oats, and Phil Markowitz. Ben-Gir also performed in many Broadway shows worldwide including TONY awarded American Regional Theatres, Israel’s Habima National Theatre, and the Netherlands’ National Amsterdam Theatre. Shows include “Cabaret”, “Guys & Dolls”, “Cats” and many more.

Other performance and /or recording credits include Dudu Fisher, Danny Maseng and Debby Friedman (at NYC’s Carnegie Hall).
Dror Ben-Gur graduated from Mannes Collage of music in New York.

Chris Karlic
Baritone Saxophone

Chris Karlic is a highly in demand Baritone Saxophone player.
Since moving to New York City in 1997, Chris has been called upon to perform with some of the music world’s most legendary artists including Aretha Franklin, The Allman Brothers Band, John Mayer, Roberta Flack, Mary Wilson, Sam Moore, Freddie Hubbard, Dave Liebman and many others. Chris has also performed and/or recorded with such great artists as : Gregg Allman, Tom Harrell, Bobby Caldwell, George Coleman, Jeffrey Osbourne, The Lincoln Center Afro-Latin Jazz Orchestra, The Carnegie Hall Jazz Orchestra, Ann Peebles, Chico O’ Farrill’s Afro- Cuban Big Band, Nicholas Payton, The Four Tops, The Temptations, The Funk Filharmonik, The Vanguard Jazz Orchestra, Dave Holland, The Bob Mintzer Big Band

Shlomi Cohen
Soprano Saxophone & Clarinet

Grammy-nominated saxophonist Shlomi Cohen, born in Tel Aviv, Israel, has had a multicultural musical education, based in part on his surroundings both in Tel Aviv and New York City, and also from his Moroccan and Yemeni heritage. This mix of styles in his sound has made him a much sought-after saxophonist. Shlomi was part of the Grammy-nominated album “Frutero Moderno” by Gonzalo Grau & La Clave Secreta. He is part of a special collaboration with Colombian Harpist Edmar Castaneda, bringing this incredible and unique form of music to the world. As an integral part of the horn section, Shlomi was playing with the Bernie Worrell Orchestra (founding member of Parliament-Funkadelic).

Shlomi is based in New York City and regularly collaborates with various musical projects around the city and beyond.

www.shlomicohen.com

Shay Salhov
Alto Saxophone 2

Shay Salhov, an Israeli-born saxophonist, received his B.M. from Berklee College of Music in 2002 and his M.M. from the Boston Conservatory in 2005. In Boston, Shay studied with great musicians such as George Garzone, Joe Lovano, Hal Crook, Ed Tomassi and Ken Radnofsky. He performed professionally in the Boston and New York area from 2000 until his relocation to the Santa Cruz area in 2009. Musicians that Shay performed and collaborated with on the East Coast include Ayelet Rose Gottlieb, Ziv Ravitz, Avishai Cohen, Sebastian Noelle, Ronen Itzik, Sebastian Noelle, Eric McPherson, Warren Wolf and many more.

Shay currently performs and teaches throughout the Bay Area. He has collaborated with local greats such as John Shifflett, Jason Lewis, John Donaldson, Stan Poplin, The Realistic Orchestra, Jeff Denson, Dahveed Behroozi, Wally Schnally, Eddie Mendenhall and many more. Shay performed at the 54th Monterey Jazz Festival, San Jose Jazz Festival, Kuumbwa Jazz Center, Don Quixote, Moe’s Alley, The Fillmore, Earth Day San Francisco and many other Bay Area venues.

www.shay.salhov.com

Eli Degibri
Tenor Saxophone 2

Eli Degibri is an internationally acclaimed Jazz musician and saxophone player. He is a recipient of the honorary Israeli “Prime Minister Award for Jazz Composition”, recognizing his great talent as a composer, and the “Landau Award for Jazz Performance”, recognizing his achievement as a remarkable bandleader. He was an integral member of legendary pianist Herbie Hancock’s sextet (1999-2002) and legendary drummer Al Foster’s band (2002-2011), and leading bands consisting of musicians Aaron Goldberg, Kurt Rosenwinkel, Ben Street, Jeff Ballard, Kevin Hays, Gary Versace, and Obed Calvaire, resulting in seven critically-acclaimed recordings under his name.

Known for his charismatic performances, Degibri has recorded and performed extensively since the mid-1990s. He has been called, “an exceptionally melodic improviser with a big, bold tenor tone” (Bill Milkowski, JazzTimes), and “a bewitching fellow who shows impressive chops, as both a player and a composer.” (Karl Stark, The Philadelphia Inquirer). Jazz icon Herbie Hancock added that Degibri is, “a very talented composer, arranger, and performer”, one who’s music, “treads uncharted waters”, and that the saxophonist-composer, “has the potential to be a formidable force in the evolution of jazz.”

Substantiating these accolades, in April of 2012, Degibri was invited to be a part of UNESCO’s first International Jazz Day at the UN General Assembly in New York, alongside many of the finest jazz musicians in the world.

Degibri is presently focusing exclusively on leading his own band and playing his original compositions. He is now engaged in the long-standing tradition of mentorship in the jazz world; his current quartet consists of two young and promising musicians, the pianist Gadi Lehavi and the drummer Ofri Nehemya, together with Degibri’s longtime music collaborator and best friend, the bassist Barak Mori. The quartet’s latest recording, Cliff Hangin’, was released in late 2015 and received a 5-star review from the prestigious DownBeat magazine.

www.degibri.com

Tomer Levy
Trumpet

Tomer Levy is a highly in demand Trumpet player in New York City.
He is a winner of the ITG Jazz Improvisation Competition in Sweden.
In New York Tomer Levy has played with numerous major Latin Jazz and Salsa groups, including Eddie Palmieri, Mo’ Guajiro, Wayne Gorbea’s Salsa Picante, Lebron Brothers, Ralph Irizari Son Café, Orlando Marlin, La India, Son De Madre, and Ray de la Paz.

Mr. Levy has also played in the Israel Air Force Big Band and appeared in numerous Israel National Television Broadcasts.
Tomer Levy holds a BA in Music Performance from the Oklahoma City University.

Rafi Malkiel
Trombone

Composer, trombonist and euphonium player Rafi Malkiel, from Israel, has delighted audiences around the world, performing with artists such as Willie Colon, Arturo O’Farrill, Ray Anderson, and with Grammy-nominated Colombian singer Toto La Momposina, and he participated in Reggie Workman’s John Coltrane Africa Brass Live project and Jason Lindner’s Big Band.

In 2003 he formed The Rafi Malkiel Ensemble, a group of virtuosi and versatile musicians living in New York City. The group plays original compositions and unique arrangements by Malkiel, fusing Jazz and Latin-American standards with Afro-Caribbean rhythms. The music is both composed as well as improvised. Rafi Malkiel has performed in many prestigious venues and has recently recorded his debut CD My Island. The CD also features some of the best Jazz and Latin musicians in New York City, including legendary tuba player Howard Johnson, bassist Andy Gonzalez, clarinetist Anat Cohen and many more.

Rafi has performed in numerous festivals around the world such as the JVC Jazz Festival, Lincoln Center Out of Doors, Summer Stage, WOMAD festivals in Greece, New Zealand, and Australia, the Sydney Festival in Australia, and the Red Sea International Jazz Festival in Israel. He has played in New York City in venues such as Madison Square Garden, Radio City, Town Hall, Symphony Space, the Carlyle Hotel with Bobby Short, Jazz Standard, Joe’s Pub, Sweet Basil, SOB’s, and Smalls.

Rafi has recorded over forty Jazz, Latin, and Rock albums with notable artists such as Ray Anderson, Salsa Picante, Toto La Momposina and Lauryn Hill.

Rafi was cited in the Recommended Jazz Trombonists list in PBS’ website Jazz, a film by Ken Burns, as well as in The Young Guns of Jazz, trumpeting the best of a new generation, by Chip Deffaa in the New York Post, July 2001.

www.rafi-malkiel.com

Tal Ronen
Upright Bass

Born in Tel Aviv, Israel, in 1981, Tal Ronen is an accomplished young bass player living and working in New York City. As a highly sought-after sideman, Tal has been a frequent band member with many notable musicians such as Frank Wess (Sax.), Jimmy Cobb (Drums), Harry Whitaker (Piano), Shiela Jordan (Vocals), and many more. Ronen is currently the bassist for acclaimed Grammy-winning international artist Catherine Russell. He also leads his own group featuring his own original compositions, as well as being a main collaborator and songwriter for up-and-coming artist Dida Pelled.

Ronen has played at many prominent New York venues, most notably Jazz at Lincoln Center, Village Vanguard, Iridium, the Kitano, Smalls and Mezzrow. He is a frequent presence on the world stage, participating in various international festivals around the world including the Sibiu Jazz Festival (Romania), the Gyor International Art Festival (Hungary), Jazz-en-Tete in Clairmont-Ferrand (France) and many other acclaimed venues, such as the North Sea Jazz Club in Amsterdam and Sunset Jazz Club in Paris. In Israel, he has been a frequent participant of local jazz festivals such as the international Red Sea Jazz Festival in Eilat, the Israel Festival in Jerusalem, the Tel-Aviv Jazz festival, the Haifa Jazz festival and others.

A two-time scholarship receiver from the American-Israeli Cultural Foundation, he has also won several competitions for ensemble playing at the Rimon Jazz School. He had studied with a variety of world-renowned musicians such as John Pattituci (a world-renowned Jazz performer,) and has studied with Michael Klinghofer (a noted soloist & teacher,) and Teddy Kling (1st bass man, Israeli Philharmonic.) He received his BFA from The City College of New York, Magna Cum Laude.

Tim Newton
Drums

Tim Newton has been a noted and highly requested studio drummer in NYC area for over a decade. Tim played and recorded Drums for Atlantic Records’ artist Duncan Sheik… including US and European tours.

He also played with Stephen Kellogg (Universal Records), Kristin Hoffman (Interscope Records), The Alternate Routes (Star Polish Management), and played in the Musicales: “Anything goes” and “Annie”.

He studied under several prominent studio drummers, including Saturday Night Live’s drummer Shawn Pelton. Tim has also played drums for several of the larger regional bands, including The Alternate Routes, and Running on Rooftops. Tim is also one of the founding members of the band Evensong Rising which he currently plays with.

Norbert Goldberg
Latin Percussion

Norbert Goldberg is a New York musician playing drums and percussion both on Broadway, in shows such as Dancin’, Pirates of Penzance, Mail, Once On This Island, A Chorus Line, Kiss of The Spider Woman, Starlight Express, Grease, Tomy Tunes, Bombay Dreams, Legally Blond, In the Heights, Newsies, and had Played with Jazz artists such as Cleo Laine, Dewey Redman, Slide Hampton, and composers Lalo Shifrin and Michael Legrand. Recording credits include Garry Mulligan, Grover Washington Jr., and various Latin artists, commercials, and film scores.

www.norbertgoldberg.com

Recording Engineers:
Matthew Dudin
(Reeds, Brass, Bass, Banjo, Ukelele, Percussion)
Roy Coopervasser
(Xylophone, Additional recordings of Reeds and Brass)
Petr Verner
(Xylophone, Additional recordings of Reeds and Brass)
Oliver Strauss
(Drums)

Editors:
Daan Hermans
Yuval Shrem
Assaf Zehavi
Joe Hogan
Dahlia Lynn
Joel Raif
Eliot Pergl

Audio Processing:
Yishai Kornbluth
Yuval Shrem

Sample Programming:
Yuval Shrem
Amit Itzkovich

Special Thanks to:
Maarten Spruijt – Maarten, if it wasn’t for you, this project would never have happened! Thank you so much for your encouragement and good advice!

Minimum System Requirements

MAC OS

  • Mac OS X (64-bit only)
  • Mac OS X 10.10, 10.11 or 10.12 (latest update) or newer
  • Intel Core 2 Duo (minimum)
  • 4 GB RAM (minimum)
  • 88 Keys MIDI keyboard (recommended)
  • 100 GB of disk space
    (210 GB of space required during installation)
  • Supports: Stand-alone, VST, AU, AAX
  • An internet connection is required for activation.
    Once activated, it can be used offline.

Windows

  • Windows 7, Windows 8, or
    Windows 10 (latest Service Pack, 32/64-bit)
  • Intel Core 2 Duo  or AMD AthlonTM 64 X2 (minimum)
  • 4 GB RAM (minimum)
  • 88 Keys MIDI keyboard (recommended)
  • 100 GB of disk space
    (210 GB of space required during installation)
  • Supports: Stand-alone, VST, AAX
  • An internet connection is required for activation.
    Once activated, it can be used offline.

Key Features

  • 100 GB of multi-sample audio content at 24 bit / 44.1 KHz
  • Over 140,000 unique samples
  • Multiple microphone setups to combine or choose from for each instrument, providing several recording styles and techniques to accommodate a wide variety of music productions and genres.
  • Real note-transition samples, including legato, glissando, etc.
  • Real-time access to all of the articulations of each instrument, using the revolutionary real-time articulation-switching system, which is a part of the patented “Broadway Performer” technology.
  • Dynamic articulation switching enables switching articulations for ongoing notes while they’re still playing, offering the hyper-realistic fluidity of a live performer.
  • Clever key-switch programming enables super-fast, easy and intuitive articulation switching in real-time.
  • MIDI data morphing for mod-wheel driven crescendos and diminuendos enables the unique hybrid mode, using keyboard velocity and modulation wheel at the same time.
  • Velocity curve control, and Velocity Shift slider, to help to manage with the wide dynamic range of the instruments when using a MIDI keyboard.
  • Strumming engine for the Banjo and Ukulele makes it easy to strum on your keyboard.
  • Unison Section – enables stacking multiple instances of the same instrument, creating a realistic section even when playing in unison.
  • Real-Time Orchestrator – a revolutionary powerful feature which enables a keyboard player to play an entire mixed section of instruments with polyphonic polyrhythmic legato, distributing the voices to the selected instruments, as defined in a user editable orchestration scheme. Multiple orchestration schemes are possible within a single RTO multi, switchable in real-time via mouse click or user defined midi triggers.
  • Includes a set of powerful instruments multis for easy section playing (both regular stacked multis and RTO multis).
  • Revolutionary and patented alternate samples handling (round-robin), including an individual cycle for each note in each dynamic level of each articulation, resulting in up to hundreds of individual cycles per instrument, providing the most authentic performance ever offered by a multi-sample library or a virtual instrument.
  • Create and recall snapshots of alternate cycles to lock performance and gain ultimate control.
  • Dump & Reload articulations of instruments right from the interface, to optimize memory usage.
  • Top New York musicians and recording studios.
  • Color coded keyboard view presents the playable range and the various types of virtual key switches available for each instrument

Get Broadway Big Band – Kontakt Edition now!

Buy New!

If you don’t already own another Broadway product, this one is for you!

$2495.00
$1746.50

Upgrade from Broadway Lites

Only choose this option if you already own a license of Broadway Lites and would like to upgrade it to Broadway Big Band – Kontakt Edition.

If you are not a registered Broadway Lites user you will not be able to activate this upgrade product!

Upgrade from Broadway Gig

Only choose this option if you already own a license of Broadway Gig and would like to upgrade it to Broadway Big Band – Kontakt Edition.

If you are not a registered Broadway Gig user you will not be able to activate this upgrade product!

Cross-grade from the old HALion powered version Broadway Big Band

Only choose this option if you already own a license of the old HALion powered Broadway Big Band and would like to cross-grade it to Broadway Big Band – Kontakt Edition.

If you are not a registered user of the old HALion powered Broadway Big Band you will not be able to activate this cross-grade product!

Frequently Asked Questions

This product is powered by Native Instruments’ Kontakt 5 Player. If you can run Kontakt 5 or Kontakt 5 Player in your system, it will work.
You can check in the specifications section on this page.

Due to technical requirements of the Native Instruments licensing system, we currently cannot offer demo versions of our products. We hope to add Broadway Big Band to try-sound.com in the near future.

We offer special educational pricing for schools and other educational organizations interested in purchasing site licenses. Please contact us for details.

The license allows each of our products to be installed on up to 2 computers as long as it is used by the registered user only.

We offer special pricing for commercial licenses in bulk of 5 Licenses or more. Please contact us for bulk pricing information. We also offer special educational pricing for schools and other educational organizations interested in purchasing site licenses. Please contact us for details.

No. Once registered, the software and its audio content are licensed to the registered user as a single user. The license is not transferable and it is not allowed to offer our products for resale if you’re not a licensed dealer or distributor of Fable Sounds. To be clear, this limitation of the license also applies to our customers in Europ, as Sample Libraries do not fall under the definition of software being sold, but rather they are a set of copyrighted recordings with the sync rights being licensed to you.

Our products are aimed at the highest end of the music industry, and most of the users of our products are working professionals. We sometimes (very rarely) offer endorsement deals, on a case-by-case basis, especially if the product is being used on a high-profile project, and if we’re able to share the work process behind the scenes with our customers. Please contact us for details and consideration if you’re working on such projects and willing to offer a video case study.

Yes, we are currently open for submissions for internship. Please contact us and include the word “internship” in the subject line of your email. Please also tell us about your background and what you’re interested in getting out of your internship.

You can either browse to the Documentation subfolder of your library installation folder, or you can open Kontakt, locate the relevant library banner under the Libraries tab, and click on the “ i ” button. A submenu will appear where you can directly open the user manual PDF file.

All registered users are notified by email about software updates. (make sure to update your email address with us if it changes.)

Regardless, you may log into your account on our website, and go to the “Available updates & upgrades” tab on the “My Account” page. If there are any updates that you haven’t yet downloaded, they will be listed there.You can check which version you have installed by loading an instrument in Kontakt and clicking the Options tab of the instrument’s interface (not to be confused with the Kontakt’s Options page). The version number will appear at the bottom right corner of the interface. If the version you have installed is older than 2.0, a software update has been sent to you via email. If you don’t see it, please check your spam folder. If you still can’t find it, please contact us at support@fablesounds.com for assistance.

You can check which version you have installed by loading an instrument in Kontakt and clicking the Options tab of the instrument’s interface (not to be confused with the Kontakt’s Options page). The version number appears at the bottom right corner of the interface. If after installing an update the update is still not showing up, chances are that the update was not installed in the correct location. Please feel free to contact us for assistance.

If you’re still running the HALion version of Broadway Big Band, we highly recommend that you crossgrade your product to Broadway Big Band – Kontakt Edition for a special price, for a significantly improved and streamlined workflow, as well as many new features that have been added since the product was ported to Kontakt.